Customer Reviews

Louis Prima Keely Smith Live from Las Vegas

5 star:		(14)
4 star:		(2)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

I'd heard a couple of their studio albums but never understood the appeal of Louis and Keely until hearing this album. Louis is manic, hyperactive, out of control; Keely is composed, sophisticated, vocally magnificent. The contrast is the key. At times their humor is almost too close for comfort (they would divorce in 3 years): Keely mockingly refers to Louis as her "Italian Stallion," then says he's too old for her; Louis says, "That's a stage joke, folks": Keely, persistent, says, "No, it's not." And all this is inserted in the lyric of a Gershwin tune.

Louis demonstrates his musicianship, his New Orleans roots, and Louis Armstrong influence. And the act makes it clear that neither Sonny and Cher nor all of the neo-swing revival groups of the mid to late 90's could touch them.

The album also reminds the listener of the days when Las Vegas was a cabaret instead of an expensive resort and postmodern theme park. This pair was merely a free lounge act, and even the lounge act had an intermission act, introduced by Louis as the Frank Morocco trio, originally from Waukegan, Illinois. The other day I played with a bass player who revealed that he was a member of that trio when this recording was made. He played 12-6 A.M. each morning and was paid $225 for the week.

Released in 2005 to honor the 100th anniversary of the settling of Las Vegas, this Centennial celebration with Louis Prima and Keely Smith features eighteen tracks, twelve of them never before released, and all of them recorded live. With the legendary Sam Butera on sax, as he always was for Prima and Smith during their Vegas "reign" from the mid-1950s through the early 1960s, the group operates as a threesome, consummate musicians who are also full of high energy and wild and wacky humor, devoted to showing the audience a good time.

Prima is outrageous, a jumping jack who operates full throttle every minute he is on, and he takes delight in taking a traditional, serious song and giving it completely new twists and sounds. "White Cliffs of Dover," a sentimental British song during the war, gets the swing treatment, with Prima sometimes singing in a growly Louis Armstrong voice, and finishing with a rock'em, sock'em ending. Smith, while an ostensibly sober foil for Prima onstage, is kooky in her own right, treating "Autumn Leaves" in comic fashion, with heavy drum beats representing the falling leaves as Smith sings jazz and scat and gives the song an upbeat ending, probably the least sentimental version of this song ever recorded.

Butera himself has two solo tracks here--"Greenback Dollar Bill," in which he sings, plays sax, and clowns around, with Prima playing backup for him on trumpet, and "[You Can] Pack Your Clothes [and Go Walking Out My Door]," which is full of humor, his wailing sax, and an insistent drumbeat--ample proof why Butera was such a sought after bandsman during his career.

Though nothing is sacred as Prima and Smith sing old songs in new and often unusual ways, they do so with great care for rhythm, timing, and consummate professionalism. The final two songs are a grand finale: Smith's combination of "Tenderly" and "Can't Help Loving That Man of Mine, starts out "straight," then becomes increasingly wild until she and Louis are singing in triple time with enthusiastic handclapping. The final number, "When the Saints Go Marching In," speaks for itself. Mary Whipple

It's hard to imagine going on 50 tired, cynical years later that you could wander into the Casbar Lounge most any night (or morning) of the week and hear something this musical, this fun & entertaining. This was probably a fairly typical night with Louis Keely & Sam. In-jokes and double-entendres are flying, Keely doesn't hit quite all the notes, Louis is so bored doing "Robin Hood" that he's talking to the band about the next song they're going to do. "Judy" takes 2 or 3 starts to get going, (once it does it's perfect). Someone requests "Tenderly" and Louis has to feed Keely the lyrics. "Autumn Leaves" and "Can't Help Lovin' That Man" are almost totally deconstructed. It's hilarious. And it works because of the music: Prima's almost surreal vocals, combined with his surprisingly thoughtful and melodic trumpet solos, Keely's gorgeous voice, Butera's sax and arrangements and the eternal shuffle beat of The Witnesses. It's all so perfect even with all the imperfections. Or because of them.

Some of this was released in a 1958 Capitol LP called "Las Vegas Prima Style". The stuff that didn't make it to the original LP are the wilder, less polished tunes- the ones that really give you the feeling of being there. It would have been nice if Capitol had given some recording information on this release, like the date(s), or even the names of the band members.(According to the LP sleeve they were: Sam Butera- tenor saxophone, Harvey Lang- drums, Lou Sineaux- trombone, Bob Roberts- guitar, Tony Liuizza- bass, and Willy McCumber- piano.) There were also three tracks on the LP that didn't make it to this CD: "Tiger Rag", "Holiday for Strings" and "Love of My Life", all instrumental tracks featuring members of the Witnesses.

The sound quality is excellent- stereo, in case you were wondering. Capitol had another live Prima LP called "The Wildest Show at Tahoe" which was even better than the Las Vegas LP. I wonder if the tapes of those shows are still around....

Once upon a time, there were lounge acts and main room acts. The lounge acts are all but gone now. Louis Prima and Keely Smith were the consummate lounge act. They came to Vegas practically starving and became the toast of the Strip. Main room luminaries, such as Sinatra, whiled their after hours with Prima and Smith.

Backed by the Witnesses,led by the greatly overlooked and under appreciated Sam Butera, Prima and Smith simply wailed. Butera plays the most lascivious sax around. Listen to him solo or support and be amazed. Don't forget that Prima was a first rate trumpet player in the New Orleans style. As hard as they swing, that style informs their sound.

Contrasted to Prima's heat is Smith's cool. She can cut loose, too. If only for Tenderly/Can't Help Loving That Man, buy this record! If you don't come away from this recording happier than before you listened to it, there's something amiss.

Wow, I feel as if I've walked through a time warp! Listening to this cd really is a throwback to the old "Vegas" with the lounge going all hours, it's as if you just re-entered the time, and sit to listen again to a time long ago (and far away)

Great remastering of old hits, good selection of music, a retrospect of their work together

This live performance of Louis Prima and Keely Smith features eighteen tracks, twelve of them never before released. With the legendary Sam Butera on sax, as he always was for Prima and Smith during their Vegas "reign" from the mid-1950s through the early 1960s, the group operates as a threesome, consummate musicians who are also full of high energy and wild and wacky humor, devoted to showing the audience a good time.

Prima is outrageous, a jumping jack who operates full throttle every minute he is on, and he takes delight in taking a traditional, serious song and giving it completely new twists and sounds. "White Cliffs of Dover," a sentimental British song during the war, gets the swing treatment, with Prima sometimes singing in a growly Louis Armstrong voice, and finishing with a rock'em, sock'em ending. Smith, while an ostensibly sober foil for Prima onstage, is kooky in her own right, treating "Autumn Leaves" in comic fashion, with heavy drum beats representing the falling leaves as Smith sings jazz and scat and gives the song an upbeat ending, probably the least sentimental version of this song ever recorded.

Butera himself has two solo tracks here--"Greenback Dollar Bill," in which he sings, plays sax, and clowns around, with Prima playing backup for him on trumpet, and "[You Can] Pack Your Clothes [and Go Walking Out My Door]," which is full of humor, his wailing sax, and an insistent drumbeat--ample proof why Butera was such a sought after bandsman during his career.

Though nothing is sacred as Prima and Smith sing old songs in new and often unusual ways, they do so with great care for rhythm, timing, and consummate professionalism. The final two songs are a grand finale: Smith's combination of "Tenderly" and "Can't Help Loving That Man of Mine, starts out "straight," then becomes increasingly wild until she and Louis are singing in triple time with enthusiastic handclapping. The final number, "When the Saints Go Marching In," speaks for itself. Mary Whipple

They were such a great team of professional musicians. Nobody could touch them musically at that time. Louis had such amazing high energy when he performed. He was a great showman. Keely, who is still with us, had then, and still has a great voice. Her voice is simply beautiful.

If you love Louis Prima and Keely, this is a fantastic CD! I don't prefer CD's when they are live - but this is different. Louis and Keely were their best LIVE in Las Vegas and this is like being front row at the Sahara! My husband and I can't get enough of this CD!

This is what music used to be, should be and sadly isn't. Louis is always a blast and Sam Butera is awesome. Very fun and entertaining. You'll feel as though you're in the Casbar.